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Download Ivan Poharnok's Curriculum Vitae
IVAN POHARNOK Head of Filmefex Studio Filmefex Studio is a special effects facility, where we design and create effects for the motion picture industry. Our speciality is creating creatures, puppets, models, special make-ups and costumes or the combinations of them. e-mail: [email protected] www.filmefex.com phone: +36 20 960 9477 Education 1994: Studied sculpture at the Hungarian College of Fine Arts 1992: Completed Dick Smith’s Advanced Professional Make-up Course 1992: Studied Industrial Design at the Hungarian College of Applied Arts Feature and Television films: Shadow and Bone (2020, Netflix) Prosthetic makeup designer The Witcher (2019, Netflix) Prosthetic makeup designer and creature supervisor Barbarian (2019, Netflix) Prop making: human dummies and horses Midsommar (2018, A24) Prop making: human dummies and horses Alienist (TV series, TNT, 2017) Prosthetic Makeup Designer: Ivan Poharnok Terror (TV series, AMC, 2017) Head of Makeup: Aileen Sheaton Prosthetic Makeup: Ivan Poharnok Bladerunner 2049 (Scott Free, Columbia, 2017) Special prop supplier for Doug Harlocker Mars S1 and S2 (National Geographic, 2017) Speciality costume supplier Emerald City (TV series, NBC, 2016) Special prop supplier Neanderthaler (TV series, RTL 2, Germany, 2016) Prosthetic makeup designer and supervisor The Great Wall (Legendary East, 2016) Prosthetic makeup supplier for Matt Demon Underworld 5 (Lakeshore, 2016) Head of Makeup: Davina Lamont Prosthetics: Ivan Poharnok Prosthetic wounds, scars, fake heads, dummies, dummy parts Marco Polo season 2 (TV -
Juvenile Series Fiction Series Title Series Description Age/ Grd
Juvenile Series Fiction Series Title Series Description Age/ Grd. Genre Amy and her brother Dan have chosen to participate in a perilous tresure hunt that was created by their deceased Aunt Grace. They must 39 Clues decipher 39 clues to find the treasure. Grds. 4-6 Mystery Dink, Josh and Ruth Rose are friends. Together they solve mysteries that begin with a letter of the alphabet. The mysteries are simple enough that readers can collect clues and solve them along A-Z Mysteries with the characters. Grds. K-3 Mystery Who is Charlie Small? There are only his journals to describe his adventures. Did this 8-year-old really ride a rhino, defeat a crocodile, and lead the Adventures ofCharlie Small gorillas? Grds. 3-5 Humor/Adv Amber Brown is a third grader when the series begins. Through the series Amber uses humor to face the trials of growing up, her parent's divorce Amber Brown and her mother's remarriage. Grds. 2-4 Humor The stories portray strong young girls and women growing up in the United States during different American Girl time periods. Grds. 2-5 Fam. Life Fans of American Girl Books will enjoy reading about their favorite characters in these mysteries. Factual information relevant to the story is American Girl Mysteries appended. Grds. 2-5 Mystery Mandy's parents are veterinarians and she sometimes helps out at their animal hospital. Mandy and her friends try to help find homes for Animal Ark stray pets. Grds. 3-5 Real Life Marc Brown's Arthur Books continue in this series for the intermediate chapter book reader. -
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
SUNSCREEN FILM FESTIVAL 2016 , |FL1 SECTION SECTION SECTION SECTION Table of TABLE OF
11 th ANNUAL SECTION SECTION CONTENT sunscreenCONTENT FILM FESTIVAL Presented by 2016 PROGRAM GUIDE SOUTH BAY - LOS ANGELES April 28 - May 1 ST. PETERSBURGSUNSCREEN FILM FESTIVAL 2016 , |FL1 SECTION SECTION SECTION SECTION Table of OF TABLE WHEN ALL OF YOU GET CONTENTS CONTENT BIG AND FAMOUS AND CONTENTS Welcome 4 CONTENT Box Office Information 5 Box Offices GO TO HOLLYWOOD Tickets & Passes Special Events Workshops PARTIES AND DRIVE Awards Ceremony & After Party AD Festival Schedule 6 - 7 Workshops & Panels 8 - 10 FLASHY CARS, Special Events Schedule 12 Opening Night Gala 13 Celebrity Guests 14 JUSTPAGE REMEMBER, Special Guests 15 - 20 Film Info and Schedule 22 - 48 Thursday • April 28 23 • 24 YOU’LL GET MORE FOR Friday • April 29 25 • 31 Saturday • April 30 32 • 40 YOUR MOVIE HERE. Sundauy • May 1 41 • 47 Sponsors 49 - 51 Get more for your movie here. PROUD SPONSOR OF THE SUNSCREEN FILM FESTIVAL 2 SUNSCREEN FILM FESTIVAL 2016 | 3 Sunscreen Film Festival ad 5x8.indd 1 4/7/2016 4:24:18 PM BOX OFFICE INFORMATION BOX OFFICE Regular Box Office opens Thursday, April 28 at the primary venue: American Stage, 163 3rd Street, North., St. Petersburg, Florida 33701. WELCOME BOX OFFICES INFORMATION Online Book tickets anytime day or night! Visit our website: www.SunscreenFilmFestival.com Festival Office American Stage. 163 3rd Street, North., St. Petersburg, Florida 33701 SOUTH BAY - LOS ANGELES Telephone Call (727) 259-8417 • Hours: 9:00 am - 5:00 pm • Monday - Sunday Visa and Mastercard, AMEX, Discover accepted at box office (at door) and Paypal accepted for advanced, online tickets and pass purchases. -
Bachelorarbeit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hochschulschriftenserver der Hochschule Mittweida BACHELORARBEIT Frau Annett Petzold Digital Effects in Spielfilmen 2016 Fakultät Medien BACHELORARBEIT Digital Effects in Spielfilmen Autor: Frau Annett Petzold Studiengang: Medientechnik (Ba. Eng.) Seminargruppe: MT12F-B Erstprüfer: Professor Doktor-Ingenieur Robert J. Wierzbicki Zweitprüfer: Master of Science Rika Fleck Einreichung: Mittweida, 08.01.2016 Faculty of Media BACHELOR THESIS Digital Effects in Feature Films author: Ms. Annett Petzold course of studies: Media Engineering seminar group: MT12F-B first examiner: Professor Doctor-Engineer Robert J. Wierzbicki second examiner: Master of Science Rika Fleck submission: Mittweida, 08.01.2016 IV Bibliografische Angaben: Nachname, Vorname: Digital Effects in Spielfilmen: Werden Spezialeffekte in Zukunft nur noch digital umgesetzt? Digital Effects in Feature Films: Are there going to be only computer- generated effects in the future? 2016 - 69 Seiten Mittweida, Hochschule Mittweida (FH), University of Applied Sciences, Fakultät Medien, Bachelorarbeit, 2016 Abstract Ziel dieser Arbeit ist es, den aktuellen Einsatz von Filmeffekten im Spielfilmbereich zu untersuchen und mit Hilfe der Ergebnisse auf zukünftige Entwicklungen zu schließen. Im Fokus des Forschungsinteresses steht dabei die Frage, ob Digital Effects das Potential besitzen, den Gebrauch traditioneller Special Effects auf lange Sicht in Spielfilmproduktionen zu ersetzen. Diese Untersuchungen -
Marsters, James-4
JAMES MARSTERS FILM Dragonball Evolution 20th Century Fox Dir. James Wong PS, I Love You Warner Bros. Dir. Richard LaGravenese Shadow Puppets Independent Dir. Michael Winnick Chance Independent Dir. Amber Benson House On Haunted Hill Warner Bros. Dir. William Malone Common Ground Independent Dir. Arthur Anderson Smokeless Tobacco Independent Dir. Gil Sorenson TELEVISION Warehouse 13 recurring SyFy Wedding Band Guest Star TBS Supernatural Guest Star CW Three Inches Series Reg pilot SyFy Hawaii Five O Recurring CBS Caprica Recurring Sci-fi Lie To Me Guest Star FOX Numbers Guest Star CBS Alien Western Lead (MOW) Sci-Fi Channel Moonshot Lead (MOW) ITV (UK) Without A Trace Recurring CBS Torchwood Recurring BBC Saving Grace Guest Star TNT Smallville Recurring WB Cool Money Lead (MOW) USA MOW/Dir. Gary Burns The Mountain Guest Star WB Angel Series Regular WB Buffy The Vampire Slayer Series Regular WB/UPN Andromeda Guest Star Syndication Strange Frequency Guest Star VH1 Angel Guest Star WB Millenium Guest Star FOX Moloney Guest Star CBS Northern Exposure Guest Star CBS Medicine Ball Guest Star FOX THEATRE SEATTLE Handing Down The Names ACT Voices In The Dark ACT Tempest Goodman Theatre Red Noses Goodman Theatre Normal Heart Next Theatre Troilus and Cresida Julliard Caucasian Chalk Circle Julliard Camino Real Julliard Twelfth Night Julliard TRAINING: Julliard, PCPA, American Conservatory Theatre STONE MANNERS SALNERS 323-655-1313 HIMBER ENTERTAINMENT 310-276-2500 . -
“My” Hero Or Epic Fail? Torchwood As Transnational Telefantasy
“My” Hero or Epic Fail? Torchwood as Transnational Telefantasy Melissa Beattie1 Recibido: 2016-09-19 Aprobado por pares: 2017-02-17 Enviado a pares: 2016-09-19 Aceptado: 2017-03-23 DOI: 10.5294/pacla.2017.20.3.7 Para citar este artículo / to reference this article / para citar este artigo Beattie, M. (2017). “My” hero or epic fail? Torchwood as transnational telefantasy. Palabra Clave, 20(3), 722-762. DOI: 10.5294/pacla.2017.20.3.7 Abstract Telefantasy series Torchwood (2006–2011, multiple production partners) was industrially and paratextually positioned as being Welsh, despite its frequent status as an international co-production. When, for series 4 (sub- titled Miracle Day, much as the miniseries produced as series 3 was subti- tled Children of Earth), the production (and diegesis) moved primarily to the United States as a co-production between BBC Worldwide and Amer- ican premium cable broadcaster Starz, fan response was negative from the announcement, with the series being termed Americanised in popular and academic discourse. This study, drawn from my doctoral research, which interrogates all of these assumptions via textual, industrial/contextual and audience analysis focusing upon ideological, aesthetic and interpretations of national identity representation, focuses upon the interactions between fan cultural capital and national cultural capital and how those interactions impact others of the myriad of reasons why the (re)glocalisation failed. It finds that, in part due to the competing public service and commercial ide- ologies of the BBC, Torchwood was a glocalised text from the beginning, de- spite its positioning as Welsh, which then became glocalised again in series 4. -
ASC History Timeline 1919-2019
American Society of Cinematographers Historical Timeline DRAFT 8/31/2018 Compiled by David E. Williams February, 1913 — The Cinema Camera Club of New York and the Static Camera Club of America in Hollywood are organized. Each consists of cinematographers who shared ideas about advancing the art and craft of moviemaking. By 1916, the two organizations exchange membership reciprocity. They both disband in February of 1918, after five years of struggle. January 8, 1919 — The American Society of Cinematographers is chartered by the state of California. Founded by 15 members, it is dedicated to “advancing the art through artistry and technological progress … to help perpetuate what has become the most important medium the world has known.” Members of the ASC subsequently play a seminal role in virtually every technological advance that has affects the art of telling stories with moving images. June 20, 1920 — The first documented appearance of the “ASC” credential for a cinematographer in a theatrical film’s titles is the silent western Sand, produced by and starring William S. Hart and shot by Joe August, ASC. November 1, 1920 — The first issue of American Cinematographer magazine is published. Volume One, #1, consists of four pages and mostly reports news and assignments of ASC members. It is published twice monthly. 1922 — Guided by ASC members, Kodak introduced panchromatic film, which “sees” all of the colors of the rainbow, and recorded images’ subtly nuanced shades of gray, ranging from the darkest black to the purest white. The Headless Horseman is the first motion picture shot with the new negative. The cinematographer is Ned Van Buren, ASC. -
The Development and Improvement of Instructions
QUEER UTOPIAN PERFORMANCE AT TEXAS A&M UNIVERSITY A Thesis by DANA NICOLE SAYRE Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2012 Major Subject: Performance Studies Queer Utopian Performance at Texas A&M University Copyright 2012 Dana Nicole Sayre QUEER UTOPIAN PERFORMANCE AT TEXAS A&M UNIVERSITY A Thesis by DANA NICOLE SAYRE Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Approved by: Chair of Committee, Judith Hamera Committee Members, Kirsten Pullen Joseph O. Jewell Head of Department, Judith Hamera May 2012 Major Subject: Performance Studies iii ABSTRACT Queer Utopian Performance at Texas A&M University. (May 2012) Dana Nicole Sayre, B.A.; B.A, Fairmont State University Chair of Advisory Committee: Dr. Judith Hamera Through a combination of personal interviews and participant-observation in three field sites – the Tim Miller workshop and performance of October 2010 and the student organizations Cepheid Variable and the GLBT Aggies – I argue that manifestations of utopian desire and performance circulate within and among marginalized groups on the Texas A&M University campus, undermining the heteronormative and monolithic utopia the university attempts to present. I participated in each night of rehearsal during the Tim Miller workshop, as well as the creation and performance of my own solo autobiographical monologue as a part of the ensemble. My participant-observation in Cepheid Variable and the GLBT Aggies was concurrent, consisting of attendance at both weekly organizational meetings and outside events sponsored by the organizations over two years. -
Completeandleft
MEN WOMEN 1. BA Bryan Adams=Canadian rock singer- Brenda Asnicar=actress, singer, model=423,028=7 songwriter=153,646=15 Bea Arthur=actress, singer, comedian=21,158=184 Ben Adams=English singer, songwriter and record Brett Anderson=English, Singer=12,648=252 producer=16,628=165 Beverly Aadland=Actress=26,900=156 Burgess Abernethy=Australian, Actor=14,765=183 Beverly Adams=Actress, author=10,564=288 Ben Affleck=American Actor=166,331=13 Brooke Adams=Actress=48,747=96 Bill Anderson=Scottish sportsman=23,681=118 Birce Akalay=Turkish, Actress=11,088=273 Brian Austin+Green=Actor=92,942=27 Bea Alonzo=Filipino, Actress=40,943=114 COMPLETEandLEFT Barbara Alyn+Woods=American actress=9,984=297 BA,Beatrice Arthur Barbara Anderson=American, Actress=12,184=256 BA,Ben Affleck Brittany Andrews=American pornographic BA,Benedict Arnold actress=19,914=190 BA,Benny Andersson Black Angelica=Romanian, Pornstar=26,304=161 BA,Bibi Andersson Bia Anthony=Brazilian=29,126=150 BA,Billie Joe Armstrong Bess Armstrong=American, Actress=10,818=284 BA,Brooks Atkinson Breanne Ashley=American, Model=10,862=282 BA,Bryan Adams Brittany Ashton+Holmes=American actress=71,996=63 BA,Bud Abbott ………. BA,Buzz Aldrin Boyce Avenue Blaqk Audio Brother Ali Bud ,Abbott ,Actor ,Half of Abbott and Costello Bob ,Abernethy ,Journalist ,Former NBC News correspondent Bella ,Abzug ,Politician ,Feminist and former Congresswoman Bruce ,Ackerman ,Scholar ,We the People Babe ,Adams ,Baseball ,Pitcher, Pittsburgh Pirates Brock ,Adams ,Politician ,US Senator from Washington, 1987-93 Brooke ,Adams -
The Hugo Awards for Best Novel Jon D
The Hugo Awards for Best Novel Jon D. Swartz Game Design 2013 Officers George Phillies PRESIDENT David Speakman Kaymar Award Ruth Davidson DIRECTORATE Denny Davis Sarah E Harder Ruth Davidson N3F Bookworms Holly Wilson Heath Row Jon D. Swartz N’APA George Phillies Jean Lamb TREASURER William Center HISTORIAN Jon D Swartz SECRETARY Ruth Davidson (acting) Neffy Awards David Speakman ACTIVITY BUREAUS Artists Bureau Round Robins Sarah Harder Patricia King Birthday Cards Short Story Contest R-Laurraine Tutihasi Jefferson Swycaffer Con Coordinator Welcommittee Heath Row Heath Row David Speakman Initial distribution free to members of BayCon 31 and the National Fantasy Fan Federation. Text © 2012 by Jon D. Swartz; cover art © 2012 by Sarah Lynn Griffith; publication designed and edited by David Speakman. A somewhat different version of this appeared in the fanzine, Ultraverse, also by Jon D. Swartz. This non-commercial Fandbook is published through volunteer effort of the National Fantasy Fan Federation’s Editoral Cabal’s Special Publication committee. The National Fantasy Fan Federation First Edition: July 2013 Page 2 Fandbook No. 6: The Hugo Awards for Best Novel by Jon D. Swartz The Hugo Awards originally were called the Science Fiction Achievement Awards and first were given out at Philcon II, the World Science Fiction Con- vention of 1953, held in Philadelphia, Pennsylvania. The second oldest--and most prestigious--awards in the field, they quickly were nicknamed the Hugos (officially since 1958), in honor of Hugo Gernsback (1884 -1967), founder of Amazing Stories, the first professional magazine devoted entirely to science fiction. No awards were given in 1954 at the World Science Fiction Con in San Francisco, but they were restored in 1955 at the Clevention (in Cleveland) and included six categories: novel, novelette, short story, magazine, artist, and fan magazine. -
Grizzly Si Plifies Complex Obstacles Gets More Time to Gather Facts
_ II~ range: TA 250 instructors help them- Volume 9 Number 10 Published in the interest of the personnel at Fort Leonard Wood, Missouri Thursday, March 7, 1996 Home on the - ------------------ selves to a new shelter. See page 3A ----------------- -- BRAC on track Luncheon features Ann Crossley Q Maneuver Support struction facilities, NCO academy The Officers and Civilians Center transformation accommodations, range modifica- Women's Club luncheon fea- tions and housing conversions. turing Ann Crossley, author of proceeding smoothly "We're adequately funded for the 'Army Wives Handbook," the design of all projects and have is on March 21, 11:30 a.m., By Jacqueline Guthrie been approved for construction," not March 12 as previously pub- ESSAYONS Staff he added. Contractors will start lished. See complete story on breaking ground early next year. page lB. Fort Leonard Wood is well on "We also have a very solid start- its way to becoming the Maneuver up on the environmental impact Joint Endeavor troops Support Center as the Base Re- statement," Johnson said. This get tax extension alignment and Closure statement is part of the legal re- The Internal Revenue Ser- Commission transition office here quirements of the National vice has granted an automatic celebrate its one-year anniversary. Environmental Policy Act of 1969 extension to Dec. 15 to file The BRAC team has the job of that requires all federal agencies 1995 Federal Income Tax Re- moving of the Military Police and to complete one for activities that turns to soldiers serving in Chemical Schools from Fort could affect the environment. Operation Joint Endeavor on McClellan, Ala., to Fort Leonard Officials began preparing the in- or after March 15.